Peter Mulloy?s story of the re-birth of the Carl Rosa Opera Company demonstrates how tenacity, risk-taking and an eye for the main chance can combine to beat the odds, which are stacked heavily against the financial survival of a touring opera company that attracts neither subsidy nor corporate support.
Karl Roza was a German violinist who married the famous Euphrosyne Parepa. He changed his name to Carl Rosa and between them in 1867 they created Britain?s oldest opera company, the Parepa Rosa Opera Company. In 1873 this was re-named the Carl Rosa Opera, and soon after received a Royal Warrant. The company survived until 1959, when it became dormant within a Trust. Its revival began in 1998, when I decided to start up a new company to celebrate the 125th anniversary of the original Royal Carl Rosa Opera Company.
Entrepreneurial beginnings
My own career history is, perhaps, relevant to the development of the new company. When I was 14 years old I worked backstage on touring productions with the local professional Forum Theatre in Billingham. Wonderful sets and costumes, for everything from small plays to full-blown musicals, were created by the Forum and then ended up being dumped or stored in Billingham. When the local council took away the theatre?s funding, both the set and costume facilities were closed down. The stores were cleared and unless a home was found for these treasures they were to be burnt. So at the age of 15 I created a company that hired and made sets and costumes for local groups and societies. This grew over the following three years into a major business. I was able to purchase full productions from companies like Mutries of Edinburgh, Charles Fox and BJ Simmons of London. I paid £5.00 per costume and hired them out for £5.50 ? result happiness ? an early lesson for a future in opera. This business sadly burned down, so I decided to study acting in London. I supplemented my student income whilst studying part-time at LAMDA with a wonderful job at Bermans & Nathans, the TV, film and theatrical costumiers. I also worked designing productions, which provided the financial wherewithal for my future opera studies at the Guildhall and the Royal Northern in Manchester.
Re-birth
I had met Dame Eva Turner, and her stories about the opportunity that the Royal Carl Rosa Opera Company had given her were a total inspiration. The seed was sown. I performed in several Clonter Opera productions including La Bohème, then bought the production (as one does) and presented it in Billingham for a week with orchestra, sung in Italian without surtitles. This was both a financial and artistic success. The following year I directed, researched and presented the original 1879 The Pirates of Penzance. This received five awards at the International Gilbert and Sullivan Festival in Philadelphia, USA. Simultaneously, I was invited to sing in The Mikado with Valerie Masterson, Gillian Knight and Eric Roberts, and to redirect The Pirates in San Francisco, Philadelphia and Buxton Gilbert and Sullivan Festival. I researched and restored an original set of 1885 Mikado costumes for these performances. These had been used in the 1953 film ?The Gilbert & Sullivan Story?. This led to an invitation to assist Rosie Chambers as a researcher for the Mike Leigh Film ?Topsy-Turvy?. As part of my contract, I secured the Oscar-winning sets and costumes from the film (we currently use them on stage).
In 1998, with the assistance and guidance of the Carl Rosa Trust and the co-operation of both Valerie Masterson and Gillian Knight, a new Carl Rosa Opera was launched (and subsequently, a charitable board has been created). The traditional repertoire of grand opera was impossible without funding, but both Valerie and Gillian agreed to head a cast who recreated our US Mikado. We also presented our production of The Pirates of Penzance headed by Eric Roberts as Major General and Gillian Knight as Ruth, and conceived a new production of Die Fledermaus. This had a new narration written by Ranjit Bolt that placed Orlofsky in all three acts telling the story in witty verse, played by Beverly Klein. Marilyn Hill Smith was Rosalinda and our musical director Wyn Davies conducted.
Moving up the learning curve
I had no idea of how to fund these productions, so I jumped onto trains and talked to theatre managers, asking for financial guarantees for the weekly presentations of these shows. Only Darlington, Sunderland, Buxton and the Manchester Bridgewater Hall would help. I had also been assured of funding from Northern Arts, but only six weeks before we were due to open the season, it became clear that this was not going to materialise. I was about to learn the most important lesson for the future. I had given my word to all concerned that this production was to go ahead; and my only currency to trade and build any future reputation was ?my word?. I would put all the proceeds from the sale of my flat into these productions and work for free until we had achieved ?result happiness?. We performed for only four and a half weeks in total and supported a company and orchestra of over 65. The final results were both artistically and financially rewarding.
Reaping the rewards
This early gamble paid off. Theatre managers came to see these performances, and could see the potential for a light opera touring company that could offer quality at an affordable price. A future repertoire was set, venues booked it, and gave us guarantees, so we started to plan a ten-week spring tour. This was followed by a 12 week autumn tour, which doubled into 24 weeks.
Carl Rosa has now been totally self-sufficient for five years and has not received a penny from a private or public sponsor. This has been a very difficult process to sustain. The choice of repertoire and its commercial presentation has been crucial to our continued growth and development. We have had considerable success with our production of The Mikado, which has extensively toured the UK and last year toured both Australia and New Zealand. We have further plans to take this show to Canada and the USA in 2004.
We have recently received our first grant from Arts Council England. This is to support a new initiative, ?Rosa Opera Go Round?, which is based upon an idea similar to Opera 80. We will take a mid-scale company to new venues with a full education programme. Not only will this develop new audiences for us, but it also allows us to train and develop new singers in stagecraft within light opera and operetta.
Our future repertoire includes a new touring production of HMS Pinafore, which will be directed by Timothy West, and the operettas The Merry Widow and Orpheus in the Underworld. We are returning to both Australia and New Zealand in 2004 with two productions in repertory. It would be wonderful to receive core funding to the level of companies like English Touring Opera or even Opera North; but until that day we have to work towards commercial activity that builds our reputation and audience base.
We strive to fulfil the original aims and goals of Mr and Mrs Karl Roza and thus far we have ?result happiness? within our company, our audiences and the theatres. Long may this continue.
Peter Mulloy is Director of Carl Rosa Opera t: 020 7613 0777
e: petermulloy@carlrosaopera.co.uk